While in the menu with the list of encoders, rotating then pressing the encoder you want to put macros on, it gets immediately selected and accessed =)

About which kind of setup are you most interested in?I think here we are in a too vast field where all depends from the starting material (the type of patch and use you need of it)

Anyway, I usually have 1 or 2 knobs dedicated to Filtering and FX sending, or for creating a break overdriving the Delay or long decaying for Reverb.

Also, for the main sound (I usually have one) I use 2-3 knobs for changing in a "recallable" way some important parameters like the 2 filters or LFO on volume to let it pulsate, plus some decorations.Or to octave shift the oscillators.

One important rule of thumb, for me, is to dedicate usual sounds to the same track numbers.....(e.g. Bass on T1 - Lead on T2 - Fx on T3 - Percussive on T4)

This way, you can have a Performance configuration easier to recall by copying it from a sort-of default Kit. I am speaking here about main Macro's destinations.....of course you should tailor, each time new sounds get introduced, the modulations happening to them...

I think sometimes the performance mode gets a bit too loud if you change certain parameters of your sound.A nice little trick is to lower the volume with one of the macros that keeps everything on the same volume level if you turn the knob. That is something really useful which i haven't seen on other gear.

There are definitely some staples that will work with just about any sound (FX sends, filter cutoff, etc) but finding ways to really drastically alter the sounds and still have them be listenable can feel a bit random from the performance macro edit page. Especially once you factor in parameter and sound locks on a given track.

Something that helps while I'm programming sounds is if I come across a setting change that I like but I can't decide if I prefer over the original I make a note of that change. So if I find LFO depthA +32 gives an interesting change I'll write that setting down (along with maybe a little descriptor that only makes sense to me) and then adjust the LFO depth back down to what it was originally. Then I have a list of interesting sound tweaks I know work for each of the sounds and use that as a starting point when setting up my macros.

One thing I've found is that you often need a much smaller +/- range in the macro than you would think. When you're adjusting one parameter on a single track it might sound good cranked up to 127, but when you're adjusting 4 other parameters on some combination of 5 other tracks at the same time it can get muddled really quickly.

Apologies if there's already a thread on this - I searched and couldn't find one...

So I just started messing around with performance mode today, trying to think of useful parameters to modulate. I've been in the process of putting together a template project and kit from which I use as a starting point for all new projects, simply saved with a different name to a different slot. I took a stab at setting up some default performance configurations, though I have a hunch this may not be as useful as I want given the individual sounds I may be using in the future.

But it got me wondering, do you all have "standard" configurations that you fall back on, or is it entirely set up on a per kit/sound/song basis? Found any cool surprises? I definitely using a few to control the FX; levels, feedback, etc. Filter sweeps are cool, fairly standard...

Also, do you tend to use a given macro to modulate one track or several? Depends on the song I know, can be cool both ways.

Hi, Allmost no standarts for me, but I often link the 5 th to the overall amp to begin with because often that's needed anyhow. When the first 4 destenies are linked and it's not needed to have the Amp - link I can still use it for another modulation.What I really like is to modulate the timing of the Delay. The least obvious destenies ( same for modulations in the sound itself ) are the Envelope - destinations witch are the most difficult to emagine for me. But they are very interesting. I allways found the envelope part the most complex part of synth-programming. after all these years it still happens to me that the result is totally different from what I thougt it would be. I'm still learnig; I think these machines are one of the best that exist at envelope - level with all the amazing options. Most of the time I start programming the performance part when there's aallready a song or at least some chains. It has to sound good without the performance programmed . So I can enjoy a next level of programming an surprises !!! I 'starting to discover the joystick - modulations for the moment and in combination with the rotating - buttons WOW !!! Noise - modulations are surprusing me the last weeks , the resuts can be immense. It can be interesting to have different chains with exactly the same Kit to begin with. Than copying that Kit and linking each copy to another chain. Than only cahnging the positions of the values of each encoder and saving that in each Kit. This way you can realise predictable parameter-jumps going from 1 chain or pattern to another ( keeping the same sounds ).

Thanx for restarting this topic - I think it can be a source of great inspiration and knowledge for all of us.

To answer your question >>> Most of the time I link all 5 destinations of 1 encoder to 1 track = encoder 1 > track 1 encoder 2 > track 2 ... etc ... question of keeping oversight and in this way - whenever I load a performance ( even if I haven't touched it for months ) I know wich encoder go's t wich track

Not totally decided yet, but I think I will use 2 knobs per track (AF, BG, CH, DI) and 2 for all tracks (EJ). I can control EJ with Ot's crossfader mapped with a midi processor (Ep+).For tracks I mainly use filter or env filter depth, filter decay (as TB 303).

On the A4 performance page when I touched a knob that was assigned to a track performance, say T1, I could also edit the level with the Level knob on the left of the screen, without selecting the track, it would just remember the Trk from the last knob I touched.Then simply turning another knob to change track performance of say T2, I could also edit the Level of T2, without having to push Trk 1 or Trk 2 buttons on the right...now I have to push them to edit that Track's Level...weird.

Anyone know's how I managed to chage this setting? I can't seem to get it back to where it was.

The Performance Page has 10 macros, not 5.In the Perf Setup, when you set the 5 parameters of a macro, the Level knob act as the corresponding macro knob in the Performance Page.Maybe that confused you ?

Correct, I have only used 5 so far and my mind jumped to that number.So in that PERF page with the 10 macros, if I touched a macro that is assigned to say Trk 1, without pressing Trk 1 button on the far right, the "Level" knob that is on the left side of the screen, would assume the volume control for that track.

Following that, if I touched a macro that is assigned to say Trk 2 (or 3/4), without pressing Trk 2 (or 3/4) button on the far right, the "Level" knob that is on the left side of the screen, would assume the volume control for that track.

I didn't have to press "Perf" button to go to the MIX page of the performance mode and I never use that page anyway.

It was working as I describe above and the thing that I can only say has done something to change that, is when I went to Global > MIDI CONFIG > CHANNELS > and change PROG CH IN CH to MIDI channel 16, so when I change Pattern on the Rytm (which is set to the same MIDI channel), the A4 would follow the pattern/kit change, on the Rytm.

Now on that performance page, I have to press a Trk button for the encoder on the left of the screen, to take control of the Trk volume. I mean its no big deal, but it would be brilliant to get it back to what it was.